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Alas, Audrey Hepburn was just 63 when she died. But the life she lived was fascinating, even inspirational, as revealed in Enchantment: The Life of Audrey Hepburn. Though veteran celebrity biographer Donald Spoto has largely relied on previously published materials, it’s the way he uses the information infusing it with passion for and knowledge of his subject that makes this book such a pleasure.

Belgian-born, raised in Holland under Nazi occupation, Hepburn grew up longing to become a ballerina. She instead became a London chorus girl, appeared in print ads for soap and shampoo, and got small film roles. By chance, she was spotted by the writer Colette who deemed her perfect for the lead role in the stage version of Gigi, about a Parisian girl raised to be a courtesan. And so the unknown 22-year-old became a Broadway star and won a Tony. She next starred opposite Gregory Peck in Roman Holiday, winning an Oscar. In the era of va-va-voom stars like Elizabeth Taylor and Marilyn Monroe, the reed-thin, flat-chested Hepburn was decidedly unique. She also had an allure that captivated Givenchy who would go on to design the fabulous clothes that made her a style icon. But if she was the queen of chic in films such as Funny Face and Breakfast at Tiffany’s, beneath the poised demeanor was an inner sadness. Hepburn battled lifelong depression. There were numerous (discreet) affairs, some of them with co-stars, and two unsuccessful marriages. But, she found joy in motherhood, and as a former child of war, she empathized with the suffering children on whose behalf she tirelessly worked, through UNICEF.

Los Angeles-based writer Pat H. Broeske is the co-author of biographies of Howard Hughes and Elvis Presley.

Alas, Audrey Hepburn was just 63 when she died. But the life she lived was fascinating, even inspirational, as revealed in Enchantment: The Life of Audrey Hepburn. Though veteran celebrity biographer Donald Spoto has largely relied on previously published materials, it's the way he uses…
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<b>Mae West: It Ain’t No Sin</b> But, age before beauty: Mae West, known for her body language (a knowing tilt of the head, a carefully raised eyebrow) as well as her suggestive wisecracks, is studiously depicted in <b>Mae West: It Ain’t No Sin</b>. Simon Louvish, biographer of W.C. Fields and the Marx Brothers, had access to West’s archives, a treasure trove consisting of 2,000 pages of West-penned jokes and gags, as well as various drafts of plays, screenplays and treatments. All this written by the woman who famously uttered, Come up and see me sometime. The former Mary Jane West worked her way up in vaudeville, then became a Broadway legend in part due to the notoriety of the 1926 play, Sex. West wrote and starred in the play, which was deemed immoral in a headline-making trial. Sentenced to prison for 10 days, West quipped to a reporter, Give my regards to Broadway. No wonder Hollywood beckoned.

Hard to believe, but she was 40 years old when she began making movies, and history, with her <i>umming</i> and <i>oohing</i> and sexual insinuations. She drove the censors nuts, delighted audiences and became the highest-paid performer in the country. Her screen reign lasted just seven years, but she went on to wow audiences in Vegas, and to star in several ’70s-era cult pics, including the campy <i>Myra Breckinridge</i>. When she died at 87 she was living with a much-younger former body-builder, giving credence to her line, a hard man is good to find. <i>Los Angeles-based writer Pat H. Broeske is the co-author of biographies of Howard Hughes and Elvis Presley.</i>

<b>Mae West: It Ain't No Sin</b> But, age before beauty: Mae West, known for her body language (a knowing tilt of the head, a carefully raised eyebrow) as well as her suggestive wisecracks, is studiously depicted in <b>Mae West: It Ain't No Sin</b>. Simon Louvish,…
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On June 22, 1769, Thomas Day turned 21. Long-suffering in his quest to find a perfect woman, he now found himself a free man in possession of substantial income, and elected to find an unspoiled specimen and train her to his liking. Since Day’s habits included bathing in ice water, eschewing fashion and frippery and manifesting “virtue” through suffering, his struggles to find a mate the old-fashioned way are unsurprising. What does come as a shock is his decision to grease the palms in charge of a foundling hospital in order to abduct two orphans, whom he then trained in an unspoken competition to see which he would select for a bride.

How to Create the Perfect Wife follows this quest, which is by turns comic and tragic. Day sought to follow the philosophy of Jean-Jacques Rousseau, but his desires were all in conflict with one another: He wanted a woman who was strong and healthy, yet demure and virginal; one who was his intellectual equal, yet willing to live in seclusion with him and defer to his authority in all things. Even by the Enlightenment’s standards, his actions were wildly controversial, and of the two girls he trained, it’s clear that Lucretia, who lost a contest she didn’t know she was involved in, came out the winner overall.

Author and historian Wendy Moore writes with a novelist’s flair and fluidity. She is tough but fair to Day; though his ideas about women were clearly dangerous, he was a fine writer, a loyal if blustery friend and an early supporter of the abolition of slavery. He did ultimately marry a woman to whom he appeared well-suited. Nevertheless, he and his foundlings never escaped being objects of “tea table tittle-tattle” for the remainder of their days, and the scandal was harmful to all concerned. Day’s story echoes the original Pygmalion myth, which was not a love story but a cautionary tale about the limits of omnipotence.

On June 22, 1769, Thomas Day turned 21. Long-suffering in his quest to find a perfect woman, he now found himself a free man in possession of substantial income, and elected to find an unspoiled specimen and train her to his liking. Since Day’s habits…

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He was a perfectionist who lived for his work which would profoundly permeate all our lives. The man who turned animation into an art form, and amusement parks into family-friendly theme parks, also impacted our collective psyche. Do you believe dreams can come true? Ever wish upon a star? You have Walt Disney to thank, says cultural historian Neal Gabler in his heavily researched and, at 800-plus pages, just plain heavy, Walt Disney: The Triumph of the American Imagination.

Over the years there have been myriad Disney tomes, some of them pretty harsh toward Uncle Walt (Marc Eliot’s Walt Disney: Hollywood’s Dark Prince) and toward his cultural legacy (Richard Schickel’s The Disney Version: The Life, Times, Art and Commerce of Walt Disney). It didn’t help that the Disney empire has long guarded its vaults and has a thuggish reputation among the press. Now lowering the drawbridge, they coughed up the keys to the kingdom for Gabler, who enjoyed complete access to the Disney Archives.

The resulting work, seven years in the making, is a revelatory portrait of a visionary who would create one of the world’s most powerful business enterprises. Though, as Gabler ably illustrates, Disney never set out to get rich. To him, money was a means to further his next venture, and the next. To pursue his then-ground-breaking efforts (the endless list includes Snow White and Fantasia), Disney was forever juggling finances. It was only with Disneyland, and the park’s synergistic ties to TV (which also enshrined the movies and merchandising) that he became wealthy.

From a hard times childhood, that nonetheless left him with idyllic, lasting memories he would recreate in his nostalgic live-action movies and at his park (especially via Main Street, U.S.

A.), to his adventures in animation (including the bumpy business side of movie-making), to the development of his studio and theme park kingdoms, Disney examines its subject with a balance of insight, awe and empathy.

He was a perfectionist who lived for his work which would profoundly permeate all our lives. The man who turned animation into an art form, and amusement parks into family-friendly theme parks, also impacted our collective psyche. Do you believe dreams can come true?…
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“American Woman Weds Man She Shot” is an irresistible newspaper headline from 1932 about Alice de Janzé, the Chicago heiress who married second husband Raymund de Trafford after previously shooting him in a crime of passion. A member of the decadent Happy Valley crowd in Kenya, de Janzé lived a life of privilege and bad behavior. But was she capable of murder?

Paul Spicer’s The Temptress seeks to answer this question by reopening the case of Joss Hay, Lord Erroll, whose 1941 murder in Kenya has never been solved. Readers may remember Erroll as Lady Idina Sackville’s third husband from Frances Osborne’s The Bolter, the dramatic story of Sackville’s louche life in Happy Valley. While unhappy husbands, spurned mistresses and even Britain’s secret MI6 service are all potential candidates for Erroll’s murder, Spicer builds a case against the mentally unstable de Janzé, one of Erroll’s former lovers.

Spicer is uniquely situated to tell this story, as his mother had been a friend of de Janzé’s in Kenya in the 1920s. The book, however, works better as true-crime than it does as biography. Spicer’s case against de Janzé, while compelling, is hardly airtight: The narrative doesn’t tell us much about the actual relationship between de Janzé and Erroll, and Spicer relies too often on speculation. The second half of The Temptress is much more exciting than the first, as Spicer dives into the court records surrounding Erroll’s murder.

Nonetheless, it’s hard to get Alice de Janzé wrong: Any woman who travels to Paris from Kenya accompanied by a lion and a baboon offers a delectable subject for biography. Readers of The Bolter will happily snap this book up for more of the same scandalous behavior.

“American Woman Weds Man She Shot” is an irresistible newspaper headline from 1932 about Alice de Janzé, the Chicago heiress who married second husband Raymund de Trafford after previously shooting him in a crime of passion. A member of the decadent Happy Valley crowd in…

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When I say “Davy Crockett,” what do you see? A man in a coonskin cap? The vaguely Taco Bell-ish profile of the Alamo? Or—be honest—did you sing “Davy, DAY-vy Crockett, king of the wild frontier”? You’re forgiven; the song is very catchy, and the guy was a legend, about whom surprisingly little is actually known. In Born on a Mountaintop, author Bob Thompson tries to find the real man behind the myths, but soon discovers that almost every “fact” about Crockett is either the subject of contentious debate or flat-out wrong.

Thompson’s research was inspired by his daughter, who heard “The Ballad of Davy Crockett” in the car and began parsing the lyrics for details. Many biographies combined fact (he was a three-term congressman who advocated for the poor) with folklore (readers may be shocked to discover he could not, in fact, grin a bear into submission)—a tradition Crockett himself encouraged, seamlessly blending celebrity into his political career. So Thompson takes to the road to seek what truths may be found. In Tennessee he sees many places Crockett might have lived, only a few of which are provable as the real deal. At the Alamo, he finds that the debate is not resolved over whether Crockett was executed as a prisoner of war or went down, guns blazing, with bodies at his feet.

A darkly fascinating aspect of Crockett’s legacy is the “Crockett almanacs,” books similar to a farmer’s almanac that combined practical information with tall tales. They were written by East Coast pulp writers, who portrayed Crockett as a racist, chauvinist monster, which got big laughs circa 1839. Later these books were mistaken for real folklore from the oral tradition, which further clouds our view of a man who actually preferred to be called “David.”

This is not to say the book is grim—far from it. The roadside attractions on Thompson’s journey often make a tossed salad of Crockett, Daniel Boone and Paul Bunyan. And watching Thompson and his wife struggle to separate fact from fiction in the “Ballad,” then explain the difference between them to a four-year-old, is a hoot; they end up having to read aloud, “at her insistence,” an entire biography of Andrew Jackson to establish historical context. There’s a fun look at the Disney miniseries that launched a million coonskin caps onto the heads of kids worldwide and made Fess Parker a household name. But Born on a Mountaintop also gives us a look at fame and image in pre-Facebook America and finds that, while the cogs moved more slowly, the machine itself was much the same as the one we know today.

When I say “Davy Crockett,” what do you see? A man in a coonskin cap? The vaguely Taco Bell-ish profile of the Alamo? Or—be honest—did you sing “Davy, DAY-vy Crockett, king of the wild frontier”? You’re forgiven; the song is very catchy, and the guy…

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When Warren G. Harding died in office in 1923, in the midst of scandalous behavior by some members of his administration, his relatively little-known vice president, Calvin Coolidge, assumed the presidency. With a strong commitment to service and the dignity of the office and a core belief that less government was better, he restored trust and confidence. Coolidge went on to win a landslide victory in the 1924 presidential race. Many of his fellow Republicans wanted him to run again in 1928 and thought he could have won easily.

As president, he focused intensely on control of the federal budget, and his notable achievements included lowering the federal debt significantly and leaving budget surpluses while at the same time reducing the top income tax rate by half, and bringing unemployment down to three percent. He vetoed most spending bills, including those that would have benefited such groups as World War I veterans and farmers. Amity Shlaes is right on target when, in her enlightening biography Coolidge, she calls him “our great refrainer.” At the same time, the country’s economy grew strongly, and when Coolidge left office the federal government was smaller than it had been when he became president in 1923.

Despite these accomplishments, Coolidge is usually not ranked among our best presidents. One of the primary reasons is that shortly after he left office, the stock market crashed in October 1929, and the country began to descend into the Great Depression. Indeed, some readers may be surprised to learn that, as one of his closest aides recalled, Coolidge had seen economic disaster ahead but believed it was wrong to do anything about it.

Shlaes, author of the bestsellers The Forgotten Man and The Greedy Hand, guides us through Coolidge’s life, from his childhood in Vermont through a political career that lasted most of his adult life, beginning in 1898, when he was elected as a local councilman, until he left the White House in 1929. Along the way he served as a mayor, Massachusetts state senator and governor, where his leadership in dealing with the Boston police strike of 1919 brought him national attention. Shlaes’ detailed description of that event shows how Coolidge, in defense of the law, broke the strike and restored public order. Although the striking policemen did lose their jobs, Coolidge tried to find other positions for them—but not as policemen, and not in Boston.

Coolidge’s response to the greatest national emergency of his presidency perhaps demonstrates most dramatically his beliefs about the national government’s limited role in such a situation. During the disastrous Mississippi River flood of 1927, Coolidge did not think it was appropriate for a U.S. president to go into governors’ territory. He established and tested a policy position for the federal government: rescue operations, yes; reconstruction, no. He believed the latter should be the responsibility of the states. Coolidge did have his commerce secretary, Herbert Hoover, who had extensive experience with relief work, head an effort to help, but Coolidge himself did not visit the afflicted areas, and when his own New England suffered the same kind of natural disaster later, he also refused to go.

Readers will appreciate a glimpse into Coolidge’s personal life as well. Shlaes tells us about the importance of Coolidge’s wife, Grace, in his work and his political career. It was an attraction of opposites: He was a man of few words, while she was outgoing, but both had wide-ranging interests and shared a belief in the importance of family. They were devastated when one of their two sons, Calvin Jr., died during their time in the White House.

Toward the end of his life, Coolidge spoke about the “importance of the obvious.” For him, that included his core beliefs: the importance of perseverance, property rights, contracts, civility to one’s opponents, silence, smaller government, trust, certainty, respect for faith, federalism and thrift. Probably his best-known public statement was, “The chief business of America is business.” But, Shlaes points out, there was a counterweight to business, as he articulated later in the same speech: “The chief ideal of America is idealism.”

In this detailed and illuminating biography, Shlaes helps us to better understand Calvin Coolidge and his era, and makes a strong case that he deserves to be more highly regarded by historians.

When Warren G. Harding died in office in 1923, in the midst of scandalous behavior by some members of his administration, his relatively little-known vice president, Calvin Coolidge, assumed the presidency. With a strong commitment to service and the dignity of the office and a…

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Throughout U.S. history, presidents and vice presidents usually have not been close to each other. One has all the power of his office; the other does not. That invariably leads to many opportunities for misunderstandings, slights and mistrust. The mix is especially difficult if the president is an elder statesman and the symbol of victory in World War II, known to the public as being “above politics,” and the vice president is an ambitious young politician with a reputation as a ruthless campaigner.

Such is the situation Jeffrey Frank explores in Ike and Dick: Portrait of a Strange Political Marriage. “There was never a real breach, there was, rather, a fluctuating level of discomfort,” he writes. Dwight Eisenhower’s attitude toward Richard Nixon ranged from “mild disdain to hesitant respect.” Yet their relationship continued—especially through the marriage of Nixon’s daughter, Julie, and Eisenhower’s grandson, David—until Ike’s death in 1969, shortly after Nixon was elected president.

Exactly how their coupling as a political team began is something of a mystery. No one present in the Chicago hotel room where Nixon was chosen by Republican Party leaders seems to have a clear memory of what happened. Eisenhower seems to have taken a back seat in the selection process. Until his own nomination, Eisenhower did not realize that he would need to name a vice-presidential candidate. Three years later, when he was asked about his role in the VP choice, he replied that he wrote down the names of five or six younger men he admired, including Nixon, and said to Republican Party leaders that any of them would be acceptable to him.

The two men barely knew each other, but Nixon understood that any hard partisan campaigning would be up to him while Ike remained, as much as possible, above the fray. This was to remain the pattern throughout their two terms in office, and it affected how the public regarded them. In addition, Ike used Nixon for such unpleasant tasks as firing his chief of staff, Sherman Adams, who had become the focus of a scandal.

Nixon pointed out much later that Ike was “a far more complex and devious man than most people realized.” This first became apparent to Nixon during the initial campaign when reports of a “Secret Nixon Fund,” supported by millionaires, came to light, and Eisenhower did not rush to the defense of his running mate. It was not until the generally positive reaction to Nixon’s nationally televised “Checkers” speech to explain himself that Ike expressed his support.

Frank devotes a revelatory chapter to the circumstances surrounding the speech. Shortly before he went on the air, Nixon was told that “all of Eisenhower’s top advisers” wanted him to end his remarks by submitting his resignation to Ike. Nixon came to understand that this “suggestion” was what Ike also wanted. Nixon refused, and after that neither man felt he could completely trust the other.

Nixon craved Ike’s approval, though, and the maneuvering between the two men to achieve their individual objectives runs throughout the book. Once in office, Ike made lists of other men who would make good vice presidents, and raised questions—both publicly and privately—about Nixon’s suitability for the presidency. In 1955, even before Eisenhower had decided to run for re-election, he proposed that Nixon accept a cabinet position in a new administration. And in 1956, he did nothing to stop the effort to replace Nixon on the Republican ticket.

This lively narrative touches on various personalities whose relationships with Nixon were particularly important. He became close to John Foster Dulles, the secretary of state, who tried to give Nixon a larger role in the administration. Nixon was the one major official at the time who made a special effort to meet regularly with black leaders. He had been on friendly terms with Martin Luther King Jr. for several years when, in 1960, during the run-up to the presidential election, King was arrested after a civil rights demonstration and sentenced to prison in Georgia. Yet when Coretta Scott King contacted both presidential campaigns for help, it was John F. Kennedy who returned her call and helped to obtain her husband’s release. Nixon said he had “frequently counseled with Dr. King and [had] a great respect for him,” but he did not want to make what he called “a grandstand play.”

Anyone interested in U.S. politics will enjoy Jeffrey Frank’s absorbing tale of two very different men and their turbulent relationship.

Throughout U.S. history, presidents and vice presidents usually have not been close to each other. One has all the power of his office; the other does not. That invariably leads to many opportunities for misunderstandings, slights and mistrust. The mix is especially difficult if the…

Charles Dickens is inextricably tied to the children he “fathered” in his fiction—Oliver Twist, Pip, Little Nell. In real life, the beloved writer sired 10 offspring (possibly 11, if unconfirmed reports of a child with his mistress, Ellen Ternan, are true), nine of whom lived into adulthood. Those children are the focus of Great Expectations: The Sons and Daughters of Charles Dickens, an engaging work of Dickensiana that arrives at the tail end of the year-long celebration of the author’s bicentennial.

The borrowed title is ironic, for what Gottlieb shows us in this family portrait is that while the elder Dickens may have professed to expect great things from his children, in most cases he jettisoned those hopes somewhat prematurely. It is never easy to be the child of an accomplished parent, and Dickens was one of the most famous men in the world. The impatience he displayed when judging his children’s accomplishments, his refusal to give them a chance to come into their own in their own good time, must have been frustrating, particularly for his sons (given the times, and the less conditional affection he seems to have shown his daughters, the two girls may have suffered less).

Only two of the Dickens children achieved a level of accomplishment that would have pleased their father. Henry, second youngest son, went to Cambridge, became a lawyer and judge, and was eventually knighted for his services to the Crown. Kate, younger of the two surviving girls, became a much admired painter. Yet, as Gottlieb shows us, success is relative. The writer’s eldest and namesake, Charley, would prove himself as a publisher after his father’s death, and Alfred had a measure of success in Australia. Walter and Sydney died in their early 20s, too young to judge where their lives might have led. Mamie, most adoring of their father, became something of a religious eccentric. The peripatetic Frank died in Illinois, of all places, while the youngest, Plorn, lived in relative obscurity Down Under.

It is true that a number of the children were undermined by drink and profligacy (traits perhaps inherited from Dickens’ father and siblings, if not from the abstentious and prudent writer himself). But Gottlieb raises an important question: How would the Dickens children, particularly the boys, have fared if their father had been more patient, helping them finding their places in the world, rather than shipping them off to unsuitable careers and inhospitable climes? The man who imagined great life-arcs for the characters in his fiction seems to have had little imagination when dealing with his own offspring’s lives.

 

Charles Dickens is inextricably tied to the children he “fathered” in his fiction—Oliver Twist, Pip, Little Nell. In real life, the beloved writer sired 10 offspring (possibly 11, if unconfirmed reports of a child with his mistress, Ellen Ternan, are true), nine of whom lived…

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Lyndall Gordon’s new biography of Emily Dickinson’s family, Lives Like Loaded Guns, is a tour de force. Meticulously researched and keenly argued, it transforms the conventional image of Dickinson—and reveals how that image came to be.

More than 100 years of biography, fiction and theater have depicted the famous poet as a reclusive woman in white who fled the world, perhaps after a tragic love affair, to spend the rest of her life gardening and writing brilliant poems nobody saw. Gordon upends this legend, revealing Dickinson as a passionate and powerful woman who was fervent in her friendships (too fervent, in fact, for many of her friends), had a midlife love affair with an elderly judge and carefully controlled the circulation of her poems. In one of the book’s biggest bombshells, Gordon uses family history, pharmacy records, 19th-century medical treatises and Dickinson’s poems to argue that epilepsy, rather than thwarted love, was the reason she rarely left her home.

While the first half of the book tells the story of Dickinson’s life, the second half morphs into a literary thriller. The lengthy affair between Dickinson’s brother Austin and Mabel Loomis Todd has been well-known since the publication of their letters in 1984, but Gordon meticulously traces its aftermath, as Dickinson’s and Todd’s heirs battled for control over the poet’s manuscripts, publication and reputation. Todd, whom Gordon calls the “Lady Macbeth of Amherst,” is the villain of this part of the story, creating the “shy . . . eccentric, asexual” Dickinson of myth, and erasing from the historical record Dickinson’s strong bond with Susan Gilbert Dickinson, Austin’s wife and Todd’s rival. But Gordon remains scrupulously even-handed, acknowledging Todd’s insights into Dickinson’s genius and her heroic editorial work on the first editions of Dickinson’s poems and letters.

Few books are perfect: Gordon’s use of Dickinson’s poetry as biographical evidence is sometimes dubious, and her own prose, though often delightfully personable, can be overwrought. Still, those are minor flaws in a brilliant and breathtaking book.

 

Lyndall Gordon’s new biography of Emily Dickinson’s family, Lives Like Loaded Guns, is a tour de force. Meticulously researched and keenly argued, it transforms the conventional image of Dickinson—and reveals how that image came to be.

More than 100 years of biography,…

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Many have proclaimed Winston Churchill the greatest statesman of the 20th century. His determination and inspiring speeches played a key role in saving Britain and even Western civilization in the darkest hours of WWII. He was a complex man: demanding, insensitive, ruthless, yet at times generous and apologetic, with a natural affinity for children and animals. He was interested in science and technology but in many ways remained an upper-class Englishman of the late 19th century. He is, in short, a biographer’s dream.

The first two volumes of William Manchester’s biography of Churchill were widely acclaimed. Manchester died in 2004, but not before tapping award-winning journalist Paul Reid to finish the third volume in the trilogy. The Last Lion: Winston Spencer Churchill, Defender of the Realm, 1940-1965 covers Churchill’s first days as Britain’s prime minister (and his return to the office in 1950), the Second World War, the beginnings of the Cold War, the writing of his memoirs and his death.

When Churchill became prime minister in 1940, he had prepared for the moment in many ways for six decades. Yet it is important to remember that his selection was not a popular choice. He was aware of his reputation for changing sides on issues and his history of questionable strategic judgments, so he moved quickly toward reconciliation as he made his choices of War Cabinet officers. In the early days of the war, he reached out many times for help from the United States and received nothing but a sympathetic ear. Even after the U.S. entered the war, it was Churchill who made special efforts to keep the “Big Three” working, more or less, together.

Churchill had no fondness for war. He hated the carnage and regarded the glorification of war as a fraud. But, the authors write, “War’s utility was altogether another matter.” Churchill once told his private secretary, John Colville, that those who say that wars settle nothing were talking nonsense because “nothing in history was ever settled except by war.”

As the authors put it, “Churchill did not simply observe the historical continuum; he made himself part of it. . . . He did not live in the past; the past lived on in him.” This third volume of Manchester’s trilogy took almost 20 years to write, but the narrative never falters. It is a triumph and definitely worth the wait.

Many have proclaimed Winston Churchill the greatest statesman of the 20th century. His determination and inspiring speeches played a key role in saving Britain and even Western civilization in the darkest hours of WWII. He was a complex man: demanding, insensitive, ruthless, yet at times…

Diana Vreeland launched herself at Harper’s Bazaar with the column “Why Don’t You?”: “Why don’t you rinse your blonde child’s hair in dead champagne to keep its gold, as they do in France?” Such love for the superficial and luxurious may have been out of step with the austerity of the 1930s, but it foretold the direction of much of 20th-century American fashion. As fashion editor at both Harper’s Bazaar and Vogue—where she was an early promoter of “youthquake” trends in the 1960s—and later as curator of the Metropolitan Museum’s Costume Institute, Vreeland’s professional influence was as eccentric as her personal style.

Rail-thin with severe black hair and a distinctive, crane-like ­profile, Vreeland’s style developed as compensation for her perception that she was unattractive. In the insightful new biography Empress of Fashion, Amanda Mackenzie Stuart shows how Diana’s debutante mother rejected her “ugly” daughter in favor of her more conventionally pretty sister. This hurt Diana, but she did not allow it to shape her life. Reinventing herself as “The Girl”—immaculate, stylish and positive—led to five decades of fashion-forward professional success.

Stuart uses Vreeland’s vulnerable roots to create a sympathetic portrait of Diana, and also to explain her notorious lies about her background, such as her stories about growing up in Belle Époque Paris instead of New York City. She believed in telling the best story possible; if that meant gliding over the hurt of being an unloved daughter, so be it.

Diana Vreeland’s life story is oddly inspiring. Why don’t you give a copy of Empress of Fashion to your favorite fashionista this holiday season?

Diana Vreeland launched herself at Harper’s Bazaar with the column “Why Don’t You?”: “Why don’t you rinse your blonde child’s hair in dead champagne to keep its gold, as they do in France?” Such love for the superficial and luxurious may have been out of…

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An icon because she broke through racial barriers, Hattie McDaniel is known the world over for her performance as the feisty Mammy in Gone With the Wind. Hattie McDaniel: Black Ambition, White Hollywood examines her 45-year career, during which McDaniel was often at odds with other African Americans because she took roles that some considered derogatory. The fact is, McDaniel made her mark at a time when racism permeated popular culture. Author Jill Watts, a history professor, never lets us forget this. The sledgehammer approach isn’t necessary; McDaniel’s fascinating story and struggle abounds in ironies.

Consider: though her father fought for the Union (with the Tennessee 12th U.S. Colored Infantry), as a minstrel show performer (influenced by the great Bert Williams), McDaniel parodied a Mammy character. She was 38 and had been twice married when she made her way to Southern California. Settling in South Central L.A., she worked as a film extra for $7.50 a day. It was 1931 and Hollywood’s most popular black performer was the shuffling Stepin Fetchit. A career turning point came with an 11-day job on a Will Rogers film. By 1937, McDaniel was making more than a dozen films annually. Still, she was relegated to the roles of maids/companions. But the avid follower of positive thinker Norman Vincent Peale hunkered on.

With its romanticized depiction of the Old South, Gone With the Wind created firestorms long before it came to the screen. While the NAACP was fuming, McDaniel bought and read the book and campaigned for the part of Mammy. She wound up infusing the character with gutsy bossiness as well as devotion. She wasn’t invited to the Atlanta premiere, but scored a coup by winning an Oscar as best supporting actress. Alas, what followed were offers to again portray maids, as well as a prolonged political battle with members of the Screen Actors Guild and the NAACP. As McDaniel would later surmise, there’s only 18 inches between a pat on the back and a kick in the seat of the pants. When not writing about movies, Los Angeles-based journalist Pat H. Broeske likes to watch them.

An icon because she broke through racial barriers, Hattie McDaniel is known the world over for her performance as the feisty Mammy in Gone With the Wind. Hattie McDaniel: Black Ambition, White Hollywood examines her 45-year career, during which McDaniel was often at odds with…

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